Music Resources Research Articles

COMIC GENRES IN LEONID LISOVSKY’S CHAMBER AND VOCAL WORKS: STYLISTIC ASPECT

Statement of the problem. Leonid Lisovsky (1866–1934) is the Ukrainian and Russian composer, conductor, pianist, ensemble player, teacher, music critic, editor of musical works, translator, musicologist. He is the author of over 300 works in various genres, among which an important place belongs to compositions of comic genre. L. Lisovsky was very well known in his lifetime, but later he was completely forgotten. The relevance and scientific novelty of the research is determined by the necessity to study the person and creative heritage of the famous artist. The purpose of the offered research is to reveal the ways of creation of comic musical characters in L. Lisovsky’s chamber-vocal compositions and to identify stylistic peculiarities of this works. Cultural-historical, theoretical, musical-analytical, structural and systematic research methods were used when the history of Lisovsky’s chamber-vocal compositions were studying, the key principles of comic in music were identifying, the works of the composer were analyzing and their genre and style features were revealing. The results of the researches by O. Solomonova, B. Borodin, O. Freidenberg, I. Gendler on issues of the laugh culture and I. Gorbunova who viewed the comic genres in Ukrainian music were used as methodological basis for our study. Works by I. Trofimov and others are used for contextual analysis, as well as the studies of S. Koltysheva, M. Rzhevska and A. Litvinenko, where the person of L. Lisovsky presented in the biographical aspect. Results of the research. Based on abovementioned scientific sources, the principles of embodiment of the comic by the ways of musical art were highlighted. Some chamber and vocal works by L. Lisovsky were analyzed, such as the Suite for baritone and bass cantando “At the Bailif’s Gate” (words by O. Tolstoy), comic Romance for tenor and baritone “TheCuckoo and the Rooster” (words by I. Krylov), the fable “Woman” (words by K. Kropyva) and the vocal cycle “Four jokes by Alexander Pushkin”. The peculiarities of the composer’s reading the literary stories were disclosed. L. Lisovsky’s enthusiasm for satirical poetic texts in the works of the early period and especially in the 1920s were revealed. Conclusions. L. Lisovsky’s turn to the comic chamber vocal works becomes his response on the social and economic hardships and promotes to regeneration of his creative forces in the important periods of his life. For implementation of the comic poetic texts by musical resources L. Lisovsky uses the genre mixes. The comic imaginative and emotional spectrum in chamber and vocal music lengths from good humor to bitter satire. The composer uses romantic, late romantic and impressionistic stylistic peculiarities to create musical characteristics.

FAIR Interconnection and Enrichment of Public-Domain Music Resources on the Web

Vast amounts of publicly licensed classical music resources are housed within many different repositories on the Web encompassing richly diverse facets of information—including bibliographical and biographical data, digitized images of music notation, music score encodings, audiovisual performance recordings, derived feature data, scholarly commentaries, and listener reactions. While these varied perspectives ought to contribute to greater holistic understanding of the music objects under consideration, in practice, such repositories are typically minimally connected. The TROMPA project aims to improve this situation by interconnecting and enriching public-domain music repositories. This is achieved, on the one hand, by the application of automated, cutting-edge Music Information Retrieval techniques, and on the other, by the development of contribution mechanisms enabling users to integrate their expertise. Information within established repositories is interrelated with data generated by the project within a data infrastructure whose design is guided by the FAIR principles of data management and stewardship: making music information Findable, Accessible, Interoperable, and Reusable. We provide an overview of challenges of description, identification, representation, contribution, and reliability toward applying the FAIR principles to music information, and outline TROMPA's implementational approach to overcoming these challenges. This approach applies a graph-based data infrastructure to interrelate information hosted in different repositories on the Web within a unifying data model (a 'knowledge graph'). Connections are generated across different representations of music content beyond the catalogue level, for instance connecting note elements within score encodings to corresponding moments in performance time-lines. Contributions of user data are supported via privacy-first mechanisms that retain control of such data with the contributing user. Provenance information is captured throughout, supporting reproducibility and re-use of the data both within and outside the context of the project.

Research on Music Classification Technology Based on Deep Learning

With the advent of the digital music era, digital audio sources have exploded. Music classification (MC) is the basis of managing massive music resources. In this paper, we propose a MC method based on deep learning to improve feature extraction and classifier design based on MIDI (musical instrument digital interface) MC task. Considering that the existing classification technology is limited by the shallow structure, it is difficult for the classifier to learn the time sequence and semantic information of music; this paper proposes a MIDIMC method based on deep learning. In the experiment, we use the MC method proposed in this paper to achieve 90.1% classification accuracy, which is better than the existing classification method based on BP neural network, and verify the music with its classification accuracy. The key point is that the music division method used in this paper has correct MC efficiency. However, due to the limited ability and time involved in the interdisciplinary field, the methodology of this paper has certain limitations, which still needs further research and improvement.

Plugin Cultures

Plugin Cultures

Review: Can’t Slow Down: How 1984 Became Pop’s Blockbuster Year, by Michaelangelo Matos

Review: <i>Can’t Slow Down: How 1984 Became Pop’s Blockbuster Year</i>, by Michaelangelo Matos

Design of Online Music Teaching System Based on B/S Architecture

Under the global epidemic situation, offline face-to-face teaching has not adapted to the current teaching environment. Using computer technology to carry out online assisted teaching has become an inevitable choice for music teaching in colleges and universities. Offline teaching also has many disadvantages, such as single and backward teaching methods, poor sharing of audio-visual resources, and inconsistent teaching contents. The survey found that music teachers urgently need an online teaching platform to enable teachers to obtain effective, standardized, and comprehensive teaching resources anytime and anywhere so that students can enjoy high-quality music teaching resources as much as possible. Based on these requirements, the development of online music teaching system under B/S architecture has an important practical significance.

Application of Collaborative Filtering and Data Mining Technology in Personalized National Music Recommendation and Teaching

Personalized music recommendations can accurately push the music of interest from a massive song library based on user information when the user’s listening needs are blurred. To this end, this paper proposes a method of national music recommendation based on ontology modeling and context awareness to explore the use of music resources to portray user preferences better. First, the expectation-maximization algorithm is used to cluster users and ethnic music scores, and similar users and music are divided into clusters. The similarity of objects in the same cluster is higher, and the similarity of objects in different clusters is lower. Second, we designed a multilayer collaborative filtering ethnic music recommendation model based on ontology modeling and tensor decomposition. This model uses ontology to construct a user knowledge model and integrates similarity measures in multiple situations. The actual case test and user feedback analysis show that the designed personalized national music model has good application and promotion effects.

RETHINKING THE DYNAMICS OF YORÙBÁ DÙNDÚN MUSIC RESOURCE MATERIALS IN THE CONTEXT OF CLAUDIUS OLAYEMI OLANIYAN’S SCHOLARSHIP

Beyond the rhetoric and an intentional tribute to a retired teacher (professor), senior colleague and mentor, Claudius Olayemi Olaniyan, this essay re-examines how Yorùbá dùndún drummers across different generations utilize music resource materials for composition and performance. The article is premised on Cultural Dynamism and relies on data generated from Yorùbá dùndún practitioners using the ethnographic techniques. Drawing on Olaniyan’s scholarly contributions, the ingenuity of dùndún practitioners in adopting oríkì (praise chant/music), òwe (proverbs), ìtàn ìbílẹ/orin àbáláyé (folk history/folk song), àfojúinúwò (imagination) and ìşẹlẹ ojú eré (contextual occurrence) to craft their musical art and their contextual appropriateness was analyzed. Findings showed that there is a decline in performance dexterity, less opportunities for knowledge and skill acquisition on resource materials, as well as lower required discipline level and diligence for distinctiveness in modern dùndún performance. The argument is that a gradual shift from the normative Yorùbá music aesthetic assessment and the challenge of absolute meanings on and at different levels has implications for the promotion of dùndún music making now and in the future.

A MUSICAL DRAMA BASED ON FOLK TALES BY JUNIOR HIGH SCHOOL SPECIAL NEEDS STUDENTS

This paper discusses a musical drama based on Japanese folk tales presented by a junior high school special needs class and how these activities related to a community music therapy that promotes cultural growth in the local community. The results clarified two points. First, a musical drama that utilized the musical resources and local resources of special needs class students created relationships between regular class students, teachers, and local people, and empowered special needs class students. Second, the knowledge gained from community music therapy is also useful for inclusive education-oriented activities.

Scoring Alien Worlds: World Music Mashups in 21st Century Sci-Fi and Fantasy TV, Film and Video Games

This article provides three case studies of the use of world music resources to build alien worlds in mainstream screen media with Sci-Fi or Fantasy settings. The case studies—the TV series Battlestar Galactica: Blood and Chrome, the film Avatar and the Massively Multiplayer Online Role-Playing Game (MMORPG) video game World of Warcraft—show how composers and associated music professionals in the early twenty-first century increasingly draw on such sonic materials to generate a rich sense of sonic otherness and note the means they employ to sidestep such music’s existing geographical and cultural references. Each case study explores a contrasting subject position—composer, music consultant and consumer—to better trace not only the creation of such soundtracks but also what senses disparate groups of ordinary listeners subsequently make of them. The examples suggest that outside the sphere of big-budget cinema there is a growing confidence in both the creation and reception of such sonic projections, and that, when sufficiently attracted by what they hear, listeners may actively seek out ways to follow-up on the expressive characterisations put forward in such soundtracks. Three broad types of mashup are uncovered, those that work with world music ingredients by insinuation, integration and creolisation.

Early childhood care and education educators’ understanding of the use of music-based pedagogies to teach communication skills

Background: Early Childhood Care and Education (ECCE) learners have unique needs, and specific pedagogies, therefore, need to be employed to support the acquisition of their essential skills. A great deal of research has been conducted on the use of music-based pedagogies to teach mathematics, life skills, civics and literacy at various levels of education. In South Africa, where ECCE is a relatively new educational sector, very little structure has been put in place to facilitate using music-based pedagogies to teach communication skills to ECCE learners. Aim: The aim of this study was to explore ECCE educators use music-based pedagogies to positively impact children’s communication skills and language development. Setting: The qualitative case study was conducted at two Urban ECCE centers in Durban, KwaZulu Natal Province, South African. Method: The study was informed by a social constructivist paradigm underpinned by Vygotsky’s sociocultural theory, focussing on ECCE learners’ interaction with the more knowledgeable other (MKO). Data were generated through semi-structured interviews and classroom observations with six educators, and through document analysis. The data were analysed using thematic analysis. Findings: The study confirmed that the ECCE educators have some levels of understanding of using music-based pedagogies as a strategy for teaching communication skills to children aged from three to four, but there are constraints. These limitations include insufficient training, a lack of musical resources and the non-inclusion of music-based pedagogies in both the pre-service teachers’ curriculum and the ECCE curriculum. Conclusions: The study recommended a comprehensive review of the content and implementation of the ECCE curriculum in relation to music pedagogy.

Adjusting the Pitch

The article traces the development of eight years of “Music and Resilience,” a project of international cooperation between a Palestinian NGO in Lebanon and an Italian CBO, with the aim of building music resources with, and for, the refugee communities of Lebanon. &#x0D; Supported epistemologically by ethnography, sociology, psychology, and community music pedagogy, the paper narrates and analyzes the project's development as a multi-layered, organically orientated response to the specific geopolitical and social context, in which continuous monitoring and evaluation inform the necessary “adjustments” of the project's “pitch.” Using the paradigm of Action Learning within the framework of Theory of Social Change, the authors draw on the experience and research “Music and Resilience” has stimulated, to identify some “cardinal points” relevant to cross-cultural cooperation in general.

Music Feature Classification Based on Recurrent Neural Networks with Channel Attention Mechanism

With the advancement of multimedia and digital technologies, music resources are rapidly increasing over the Internet, which changed listeners’ habits from hard drives to online music platforms. It has allowed the researchers to use classification technologies for efficient storage, organization, retrieval, and recommendation of music resources. The traditional music classification methods use many artificially designed acoustic features, which require knowledge in the music field. The features of different classification tasks are often not universal. This paper provides a solution to this problem by proposing a novel recurrent neural network method with a channel attention mechanism for music feature classification. The music classification method based on a convolutional neural network ignores the timing characteristics of the audio itself. Therefore, this paper combines convolution structure with the bidirectional recurrent neural network and uses the attention mechanism to assign different attention weights to the output of the recurrent neural network at different times; the weights are assigned for getting a better representation of the overall characteristics of the music. The classification accuracy of the model on the GTZAN data set has increased to 93.1%. The AUC on the multilabel labeling data set MagnaTagATune has reached 92.3%, surpassing other comparison methods. The labeling of different music labels has been analyzed. This method has good labeling ability for most of the labels of music genres. Also, it has good performance on some labels of musical instruments, singing, and emotion categories.

‘We Are the Dead’: The War Poets, metal music and chaos control

During the course of the First World War, the generation of British authors known collectively as the War Poets revolutionized the popular culture of their time. Due to their changing attitudes towards armed conflict, their portrayal of war chaos included realist descriptions of life in the trenches, unusual choices of subject matter and an eventual challenge to the political and religious establishment of their time. Metal music, a genre with an inherent lyrical and musical concern about chaos and control, has crafted several songs inspired on the First World War poetry. This specific relationship has not been studied before. Based on Weinstein’s and Walser’s insights on chaos and control in metal music, the aim of this article is to evaluate the ability of metal music to either transmit or refute the War Poets’ discourse on chaos, and to study the textual and musical resources metal bands use to relay and control said discourse. For this purpose, I perform a comparative analysis of nine metal music adaptations and appropriations of six different First World War poems they are based on. A chronological path of the evolution of the First World War poetry is followed. The study concludes that, besides effectively transmitting or contesting the War Poets’ discourse on chaos, metal music exerts chaos control through its use of musical resources, especially in the case of extreme metal subgenres.

Research on Segmentation Experience of Music Signal Improved Based on Maximization of Negative Entropy

With the rapid growth of digital music today, due to the complexity of the music itself, the ambiguity of the definition of music category, and the limited understanding of the characteristics of human auditory perception, the research on topics related to automatic segmentation of music is still in its infancy, while automatic music is still in its infancy. Segmentation is a prerequisite for fast and effective retrieval of music resources, and its potential application needs are huge. Therefore, topics related to automatic music segmentation have important research value. This paper studies an improved algorithm based on negative entropy maximization for well-posed speech and music separation. Aiming at the problem that the separation performance of the negative entropy maximization method depends on the selection of the initial matrix, the Newton downhill method is used instead of the Newton iteration method as the optimization algorithm to find the optimal matrix. By changing the descending factor, the objective function shows a downward trend, and the dependence of the algorithm on the initial value is reduced. The simulation experimental results show that the algorithm can separate the source signal well under different initial values. The average iteration time of the improved algorithm is reduced by 26.2%, the number of iterations is reduced by 69.4%, and the iteration time and the number of iterations are both small. Fluctuations within the range better solve the problem of sensitivity to the initial value. Experiments have proved that the new objective function can significantly improve the separation performance of neural networks. Compared with the existing music separation methods, the method in this paper shows excellent performance in both accompaniment and singing in separated music.

RETRACTED ARTICLE: Design of online popular music teaching platform based on embedded computer network and virtual reality

With the development of the Internet, many people have long been accustomed to the way of life has been changed by information technology. The traditional teaching mode has been impacted by new information technology. The network teaching platform is a very typical case. Music courses have always had problems such as cost, efficiency and so on. In particular, the learning of mood theory needs to spend the cost to buy musical instruments and inter group music classrooms in the early stage. However, due to the limited classroom time, it is difficult to teach the theoretical knowledge and skills of music to students. However, the network teaching platform can greatly reduce the cost, save resources and provide great convenience for the promotion of music courses. This paper focuses on the application of embedded computer network technology in music teaching platform. This kind of music network teaching platform can integrate all kinds of music audition resources together. At the same time, the operation interface and interactive interface of the platform are specially designed, so that learners can get an immersive learning experience. For teachers, the release of new teaching content is also very convenient. This paper not only discusses and studies the virtual reality technology, but also explores how to integrate music resources in the virtual reality platform. This technology will greatly improve the efficiency of music teaching, so that learners can faster, better, more intuitive acceptance of music knowledge. Even in the computer terminal for music simulation drill, to achieve interaction and communication between a person and the scene.

THE DEVELOPMENT OF EARLY MUSIC BROADCASTING IN THE CONTEXT OF THE AUDIO RECORDING MEDIA EVOLUTION (UNTIL 1970s)

The purpose of the article is to determine the stages of development of music broadcasting and to reveal their features in the context of the evolution of audio recording means. The methodology consists of the application of general scientific and special methods, namely: information and system approaches, terminological and historical methods, as well as methods of analysis and generalization of source information, comparison and interrelation of theory and practice. Scientific novelty. The significance of musical resources has been brought to the development of radio communications and the early stages of development of musical radio communications have been clarified in the context of the evolution by means of audio recording. Conclusions. Radio has played one of the leading roles in the field of music and, conversely, without music, radio broadcasting has not received the appropriate technical development and, accordingly, would not have had such an impact on society. Clusters of music radio recordings on the rights of subsystems are connected to the metasystem of information communications. Music publishers, who were then the most influential part of the industry, allied with the musicians. At the time of birth, radio notes were the main musical product, and songwriters were real stars. However, when the whole world began to buy records instead of music, the power from publishers and singers passed to record companies and cooperated with them performers. In the early stages of its existence, musical radio broadcasting underwent an evolutionary path from the musical telegraph (1876), the first radio shows with magnetic recording (1914), the rapid development of radio engineering and recording technology (1920–1940), and 3-minute rock ‘n’ roll from artisanal records (1950s) to «pirate music», which was broadcast from ships (1960s). The study of the historical and cultural preconditions for the formation and development of musical radio broadcasting at an early stage in the context of the evolution of audio recording allowed to identify three main stages: «search» (1870–1920), 2) «competitive» (early 1920s – second half of the 1940s). .), 3) «vinyl-tape» (first half of the 1950s – 1970s). The term «music broadcasting» is proposed to mean technological means of sound transmission to an unlimited number of listeners of musical compositions and / or other musical information on the radio, as well as wired radio networks or packet-switched networks, classifying them as «active phonograms». , broadcast) and «passive phonograms» (performed a functional role and transferred to the archive). Key words: Archive, Records, Storage, Music, Digitization, Radio.

Pesquisa Estética e Materialidade fílmica no documentário musical: Música e Imagem Tecendo Fevereiros

This paper intends to analyze the documentary film Fevereiros (Februaries), by Marcio Debellian, and its themes - such as the relationship singer Maria Bethania has with African-Brazilian and popular catholicism religiosities, with sacred and profane festivities, and with the Estação Primeira de Mangueira samba school - using as a starting point the critical debates about documentary cinema and Brazilian musical documentary film. Taking into account the issues involving filmic materiality, the present analysis intends to apprehend the invisible thread that the variety of sounds and music interweaves, in the musical documentary genre, with images and other resources available in the cinematic language.

High spirits: heavy metal and mental health

High spirits: heavy metal and mental health

Online Education and Wireless Network Coordination of Electronic Music Creation and Performance under Artificial Intelligence

This paper is aimed at studying the online education and wireless network collaboration on electronic music creation and performance under artificial intelligence (AI). This paper uses a fuzzy clustering algorithm (FCA), designs the sensor network‐related equipment, and uses AI to design an electronic music creation system. The analysis of simulation experiments suggests that under the premise of increasing the number of neighbors, the Mean Absolute Error (MAE) and Mean Squared Error (MSE) of collaborative filtering and fuzzy C‐means clustering algorithms show a downward trend. However, with the same number of neighbors, the filtering matching algorithm is greater than FCA regarding the mean values of MAE and MSE. Meanwhile, on the electronic music performance system of AI, the digital module is designed and the sound data are imaged on the oscilloscope, and the collaboration of electronic music online education and wireless network is completed. The following conclusion is drawn: modularizing the creative mode of intelligent electronic music has achieved higher computational efficiency. Through the oscilloscope, the sound feature is converted into the image structure, and the corresponding sound and image mode is formed, which realizes the purpose of online electronic music intelligent matching and optimizes the effect of online education. In the AI environment, the matching degree of verification electronic music curriculum resources is better than traditional matching algorithms, and the accuracy is higher.